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Puccini's Turandot : The End of the Great Tradition / William Ashbrook, Harold Powers.

By: Contributor(s): Material type: TextTextSeries: Princeton Studies in Opera ; 30Publisher: Princeton, NJ : Princeton University Press, [2014]Copyright date: ©1991Description: 1 online resource (208 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780691027128
  • 9781400866670
Subject(s): DDC classification:
  • 782.1
LOC classification:
  • ML410 .P89 A7 2014
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- Preface -- INTRODUCTION. The Contexts -- CHAPTER 1. The Opera -- CHAPTER 2. The Sources -- CHAPTER 3. The Genesis -- CHAPTER 4. The Four Colors -- CHAPTER 5. The Two Duets -- CHAPTER 6. Turandot Staged -- Appendix -- Notes -- References -- Index
Summary: Unfinished at Puccini's death in 1924, Turandot was not only his most ambitious work, but it became the last Italian opera to enter the international repertory. In this colorful study two renowned music scholars demonstrate that this work, despite the modern climate in which it was written, was a fitting finale for the centuries-old Great Tradition of Italian opera. Here they provide concrete instances of how a listener might encounter the dramatic and musical structures of Turandot in light of the Italian melodramma, and firmly establish Puccini's last work within the tradition of Rossini, Bellini, Donizetti, and Verdi. In a summary of the sounds, sights, and symbolism of Turandot, the authors touch on earlier treatments of the subject, outline the conception, birth, and reception of the work, and analyze its coordinated dramatic and musical design. Showing how the evolution of the libretto documents Puccini's reversion to large musical forms typical of the Great Tradition in the late nineteenth century, they give particular attention to his use of contrasting Romantic, modernist, and two kinds of orientalist coloration in the general musical structure. They suggest that Puccini's inability to complete the opera resulted mainly from inadequate dramatic buildup for Turandot's last-minute change of heart combined with an overly successful treatment of the secondary character.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781400866670

Frontmatter -- Contents -- Preface -- INTRODUCTION. The Contexts -- CHAPTER 1. The Opera -- CHAPTER 2. The Sources -- CHAPTER 3. The Genesis -- CHAPTER 4. The Four Colors -- CHAPTER 5. The Two Duets -- CHAPTER 6. Turandot Staged -- Appendix -- Notes -- References -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Unfinished at Puccini's death in 1924, Turandot was not only his most ambitious work, but it became the last Italian opera to enter the international repertory. In this colorful study two renowned music scholars demonstrate that this work, despite the modern climate in which it was written, was a fitting finale for the centuries-old Great Tradition of Italian opera. Here they provide concrete instances of how a listener might encounter the dramatic and musical structures of Turandot in light of the Italian melodramma, and firmly establish Puccini's last work within the tradition of Rossini, Bellini, Donizetti, and Verdi. In a summary of the sounds, sights, and symbolism of Turandot, the authors touch on earlier treatments of the subject, outline the conception, birth, and reception of the work, and analyze its coordinated dramatic and musical design. Showing how the evolution of the libretto documents Puccini's reversion to large musical forms typical of the Great Tradition in the late nineteenth century, they give particular attention to his use of contrasting Romantic, modernist, and two kinds of orientalist coloration in the general musical structure. They suggest that Puccini's inability to complete the opera resulted mainly from inadequate dramatic buildup for Turandot's last-minute change of heart combined with an overly successful treatment of the secondary character.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 30. Aug 2021)